Relevant bibliographies by topics / Political theatre

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Political theatre'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2025

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Journal articles on the topic "Political theatre"

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Shevtsova, Maria. "Political Theatre in Europe: East to West, 2007–2014." New Theatre Quarterly 32, no. 2 (2016): 142–56. http://dx.doi.org/10.1017/s0266464x1600004x.

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What political theatre may be in contemporary times and in what sense it is ‘political’ are the core issues of this article. Maria Shevtsova discusses examples from within a restricted period, 2007 to 2014, but from a wide area that begins in Eastern Europe – Russia, Romania, Hungary, Poland – and moves to Germany and France. Her examples are principally productions by established ensemble theatre companies and her analysis is framed by a brief discussion concerning independent theatres, ‘counter-cultural’ positions, and institutional and institutionalized theatres. This latter group is in foc
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Watson, Anna. "‘A Good Night Out’: When Political Theatre Aims at Being Popular, Or How Norwegian Political Theatre in the 1970s Utilized Populist Ideals and Popular Culture in Their Performances." Nordic Theatre Studies 29, no. 2 (2018): 87. http://dx.doi.org/10.7146/nts.v29i2.104615.

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Bertolt Brecht stated in Schriften zum Theater: Über eine Nichtaristotelische Dramatik (Writings on Theatre: On Anti-Aristotelian Drama) that a high quality didactic (and politi­cal) theatre should be an entertaining theatre. The Norwegian theatre company Håloga­land Teater used Brecht’s statement as their leading motive when creating their political performances together with the communities in Northern Norway. The Oslo-based theatre group, Tramteatret, on the other hand, synthesised their political mes­sages with the revue format, and by such attempted to make a contemporaneous red revue ins
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Frljić, Oliver. "Postdramatic Theatre and Political Theatre." Dramsko i postdramsko pozorište 2022, posebno izdanje (2022): 129–35. http://dx.doi.org/10.18485/fdu_zr.2022.dpdp.11.

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YILDIRIM, ŞEYDA NUR. "Staging Theatre Historiography: The Afterlives of Ottoman Armenian Drama in Contemporary Turkish Public Theatre." Theatre Research International 48, no. 3 (2023): 246–63. http://dx.doi.org/10.1017/s0307883323000160.

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In the last twenty years, memory has gained broader attention in Turkey's social, cultural and political arena. In line with this movement, independent and subsidized theatres produced plays engaging with Armenian history through diverse political and aesthetic agendas. Among these works, public and state theatre productions remained mostly invisible in theatre scholarship due to their ambiguous position that does not directly align with the framework of political theatre. This article examines the adaptation of the Ottoman Armenian playwright Hagop Baronian's Adamnapuyj aravelyan (1868) as Şa
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Frank, Vojtěch. "Musical Theatre as an Object of Transnational Political Exchange." Historical Studies on Central Europe 2, no. 1 (2022): 219–36. http://dx.doi.org/10.47074/hsce.2022-1.10.

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The paper focuses on the ways Czech-language theatres in Czechoslovakia were dealingwith the obligatory presence of Soviet operetta titles in their repertoire, dating from about 1950to 1989. The reform of Czech musical theatre began right after World War II. In search of the right,nationalized form of operetta, Czech theatre organs soon understood that the example must bedrawn from the hegemonic Soviet culture. In the Soviet discourse, mainly Isaac Dunayevsky’soperettas were considered masterpieces, and Czech theatre politicians were soon paying theirattention to them. After some initial diffi
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van den Berg, Klaus. "The Geometry of Culture: Urban Space and Theatre Buildings in Twentieth-Century Berlin." Theatre Research International 16, no. 1 (1991): 1–17. http://dx.doi.org/10.1017/s0307883300009986.

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In her 1983 book, Semiotik des Theaters, Erika Fischer-Lichte referred to theatre as part of ‘die Geometrie der Kultur’, a network of relationships materialized in space that symbolizes cultural experience. The concept of the geometry of culture may enable us to show how, in an urban space, different strands of human activities find their expression in the outline of urban space. Lewis Mumford demonstrates in The City in History that political programmes, economic interests, and cultural concepts influence the city's organization as well as the functions which individual buildings take in the
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Bird, Kym, and Ed Nyman. "Quipping Against the Pricks: Comedy, Community and Popular Theatre." Canadian Theatre Review 77 (December 1993): 8–12. http://dx.doi.org/10.3138/ctr.77.002.

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The Company of Sirens and the Workman Theatre Project are only two of the many members of the Canadian Popular Theatre Alliance who are using theatre, as Brecht did, to change political and social consciousness while entertaining audiences. Liberal humanist notions of “art” (of greatness, genius, the masterpiece) have caused many to denigrate popular theatre for its political agenda, as though other theatres can be free from the political and ideological conditions under which they are produced. Most popular theatre workers, however, accept that all cultural labour is ideologically committed a
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Seppälä, Mikko-Olavi. "S.O.S. - A Pacifist Intervention in Helsinki 1929. The Intercrossing of Modernism and Socialism." Nordic Theatre Studies 28, no. 1 (2016): 39. http://dx.doi.org/10.7146/nts.v28i1.23971.

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The article examines the co-operation between a (Swedish-speaking) modernist author with a (Finnish-speaking) workers’ theatre in 1920s Finland. It shows how modernist aesthetics and the socialist movement met in the practices of the workers’ theatres and what dangers lay in this combination. I am especially interested in the moments when the radical intelligentsia - artists, writers, and theatre directors - joined forces with the workers’ theatres in order to create political theatre. Political turmoil was about to occur when Hagar Olsson’s play S.O.S. premiered in Helsinki in March 1929. The
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Hamidi-Kim, Bérénice. "Post-Political Theatre versus the Theatre of Political Struggle." New Theatre Quarterly 24, no. 1 (2008): 41–50. http://dx.doi.org/10.1017/s0266464x08000043.

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In this article Bérénice Hamidi-Kim tests the hypothesis that two conflicting interpretations of the notion of ‘political theatre’ exist on the French stage today. She suggests that each is based on a specific ideology stemming from a specific conception of history and policy, which results in a legitimation of the theatre and of artists both in the theatrical field and in society at large. One, which she calls ‘post-political theatre’, seems to proceed from a radical anthropological and political pessimism, and has deliberately severed all links with all previous forms of political theatre an
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Tukhvatulina, K.A. "Cultural policy in the sphere of theatrical art in 1917-1932." Society and Power, no. 4 (June 5, 2009): 94–97. https://doi.org/10.5281/zenodo.13331118.

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This article considers the activities of the first states organs of the theatre government under the conditions of the Soviet states transformation. It analyses the changes of the political course as to the theatre, and the Soviet authorities aspirations to integrate theatres into the political and social system.
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Dissertations / Theses on the topic "Political theatre"

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Reynolds, Ryan Michael. "Moving targets: Political theatre in a post-political age." Thesis, University of Canterbury. Theatre and Film Studies, 2006. http://hdl.handle.net/10092/898.

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This thesis gauges the contemporary landscape of political theatre at a time in which everything, and consequently nothing, is political. That is, almost all theatres today proclaim a politics, and yet there is widespread resignation regarding the inevitability of capitalism. This thesis proposes a theory of political action via the theatre: radical theatre today must employ a strategy of "moving targets". Theatrical actions must be adaptable and mobile to seek out the moving targets of capital and track down target audiences as they move through public space. In addition, political theatre mu
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Al-Masri, Muzna. "Political theatre : football and contestation in Beirut." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/18235/.

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This thesis explores the relationships between political elites and their constituencies, looking specifically at the emergence and production of a new type of political elite in post-war Lebanon. Based on micro-level ethnographic research amongst Beirut’s Sunni communities, mainly within Nejmeh Sports Club, I explore the crystallisation of the model of an ‘entrepreneurial elite’ as exemplified by the late Prime Minister Rafic Hariri, who came to be the club’s patron. The most popular football club – and indeed sports club – in Lebanon, Nejmeh embraced members from different social classes, se
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Betzien, Angela Jane. "Hoods : creating political theatre for young audiences." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/19238/1/Angela_Betzien_Exegesis.pdf.

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My first exposure to Brecht and his theories was as a high school drama student. One of our year twelve assessment tasks was to write and perform our own Brechtian drama using three or more alienation techniques. I wrote a piece about Religion and Fundamentalism, an issue that I felt strongly about at the time. By carefully following my teacher’s instructions and adhering to the assessment criteria I received a VHA. I concluded from this experience that political theatre could be made by following a simple recipe and combining key ingredients. As my knowledge of theatre and my own creative pra
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Betzien, Angela Jane. "Hoods : creating political theatre for young audiences." Queensland University of Technology, 2007. http://eprints.qut.edu.au/19238/.

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My first exposure to Brecht and his theories was as a high school drama student. One of our year twelve assessment tasks was to write and perform our own Brechtian drama using three or more alienation techniques. I wrote a piece about Religion and Fundamentalism, an issue that I felt strongly about at the time. By carefully following my teacher’s instructions and adhering to the assessment criteria I received a VHA. I concluded from this experience that political theatre could be made by following a simple recipe and combining key ingredients. As my knowledge of theatre and my own creative pra
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Clements, Rachel Elizabeth Adelaide. "Hauntology and contemporary British political theatre 1995-2010." Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529760.

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Eren, Buglalilar. "Theatre And Struggle: A Sociological Analysis Of The Political Theatre In Turkey Between 1960-1971." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614246/index.pdf.

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This thesis investigates the relationship between the social movement and theatre art in Turkey between 1960 and 1971 and investigates how the development of a dependent capitalism influenced the development of the classes and the political theatre. It tries to reveal the convergences between the political ideology of the classes, their organizations and the aesthetic ideology of the field of cultural production. While doing so it investigates the ties between the ideological and practical aspects of the class struggle, the artists&rsquo<br>aesthetic views and their relations of production.
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Mundrawala, Asma. "Shifting terrains : the depoliticisation of political theatre in Pakistan." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/2353/.

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This dissertation examines the shifts in the practice of political theatre in Pakistan through the study of two theatre groups, the Tehrik e Niswan (The Women's Movement) and Ajoka (Of Today), that emerged in the 80's under General Zia ul Haque's military regime, and through newer theatre groups (Raasti, Murk, Hayat e Nau) and NGO-based theatre training organisations (Interactive Resource Centre, IRC) that were created or were impacted by the advent of neoliberalisation in the country in the 90's. The impact of finances not only influenced the growth of many small theatre groups that prescribe
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Johanson, Rachel. "Let Me Be Veiled: Deconstructing Gender in Iran and the United States." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1275596670.

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Hillman, Rebecca Anne. "(Re)constructing political theatre : negotiating discursive and practical frameworks for theatre as an agent for change." Thesis, University of Reading, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.632830.

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The main aim of this research is to offer a reconceptualisation of the efficacy of live performance for instigating social and political change. In order to do so, it explores a range of practical forms and theoretical contexts for creating political performance in Britain. It also formulates new perspectives and methodologies to encourage and add to the production of political performance for the twenty first century. The perceived failure of the organised Left after the end of the Cold War, and the relativism of postmodern theoretical perspectives, has signalled for many the demise of politi
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Tapp, Ivey R. "Political Theatre in Public Spaces: Manifesting Identity in Venice, Italy." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/anthro_theses/59.

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The combination of poorly managed mass tourism, rapidly increasing international migration, and a declining economy facilitated a permanent exodus of natives out of the Venetian lagoon. This thesis examines how the community activism group and social network Venessia.com attempts to reclaim a place-­based and place-­manifested Venetian identity (venezianità) through theatrical public protests. While members are sensitive to an ethic of intercultural awareness, the discourse accompanying their concerns reveals nostalgia for the power and grandeur of Venice’s past that is threatened by a perceiv
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Books on the topic "Political theatre"

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Ukpokodu, Iremhokiokha Peter. Socio-political theatre in Nigeria. Mellen Research University Press, 1992.

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Filewod, Alan D. Committing theatre: Theatre radicalism and political intervention in Canada. Between the Lines, 2011.

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Hartley, Andrew James. Shakespeare and Political Theatre in Practice. Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-0-230-37005-0.

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Kritzer, Amelia Howe. Political Theatre in Post-Thatcher Britain. Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230582224.

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Gerald, Hewitt, ed. The political theatre of David Edgar. Cambridge University Press, 2011.

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1907-1980, Joshi Puran Chandra, and Safdar Hashmi Memorial Trust, eds. Balraj & Bhisham Sahni: Brothers in political theatre. Safdar Hashmi Memorial Trust (Sahmat), 2012.

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McCarthy, Jim. Political theatre during the Spanish Civil War. University of Wales Press, 1999.

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Stephen, Lacey. Theatre, culture and politics: British theatre as a political practice, 1956-61. University of Birmingham, 1985.

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Geest, Kaatje de, and Carmen Hornbostel. Why theatre? NTGent, 2020.

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Idoye, Patrick E. Theatre and social change in Zambia: The Chikwakwa Theatre. Edwin Mellen Press, 1996.

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Book chapters on the topic "Political theatre"

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Barker, Clive. "Alternative Theatre/ Political Theatre." In The Politics of Theatre and Drama. Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-21792-2_2.

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Morgan, Margot. "Introduction: Political Theatre and the Theatre of Politics." In Politics and Theatre in Twentieth-Century Europe. Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137370389_1.

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Fotheringham, Richard. "The Politics of Theatre and Political Theatre in Australia." In The Politics of Theatre and Drama. Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-21792-2_4.

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Morgan, Margot. "Conclusion: Political Theatre as Political Practice." In Politics and Theatre in Twentieth-Century Europe. Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137370389_6.

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Heddon, Deirdre, and Jane Milling. "Devising and Political Theatre." In Devising Performance. Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-42678-9_4.

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Kompelmakher, Margarita. "Belarus Free Theatre: Political Theatre in Exile." In The Palgrave Handbook of Theatre and Migration. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-20196-7_60.

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Reid, Trish. "Practices: Popular and Political." In Theatre & Scotland. Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-29664-1_3.

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Hughes, Derek. "Political Crisis." In The Theatre of Aphra Behn. Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230597709_7.

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Hughes, Derek. "Political Triumph." In The Theatre of Aphra Behn. Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230597709_8.

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Mouffe, Chantal. "On the political." In The Applied Theatre Reader. Routledge, 2020. http://dx.doi.org/10.4324/9780429355363-16.

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Conference papers on the topic "Political theatre"

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SOREANU, Ioana. "Theatre and radio – ethical dilemmas in the doctoral research of common history." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2024. https://doi.org/10.35218/icds-2024-0022.

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Theatre and the radio have systematically intersected since the beginning of the existence of this means of mass communication. It is known that the radio included in its modes of expression those of the theatre. Entertainment shows, radio theatre, children's stories, poetry recitals are just a few examples of elements that have become inseparable in radio programmes. Moreover, the role of the theatre professional on the radio has also evolved over time, and the main influences relate to the historical, political and cultural changes in Romania. The study anticipates a number of ethical dilemm
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Hadzantonis, Michael. "Karangiozis in the Shadows: A Linguistic Anthropology of Greece's Shadow Puppetry." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.1-4.

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The Karangiozi theatre play has existed for centuries in its various forms and across territories. Initially emanating from the Ottoman regions, it entered Greece several centuries prior, and was popularized during Ottoman occupation of Greece. Structured on a system of multilayered symbolisms, the visuals, performances and narratives in Karangiozi present the lead character, Karangiozi, a poor and benevolent man who is frequently oppressed and beaten for his misdoings. The character must contend with the arrogance and comical approaches of other characters, and must support his family, all wh
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Coin-Longeray, Sandrine. "The Lexicon of Wealth in Hellenistic Poetry: Between Continuity and Recomposition Τὸ Ἄφενος, and Ἀφνειός, η, ον". У GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.11-2.

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In my book Poésie de la richesse et de la pauvreté. Étude du vocabulaire de la richesse et de la pauvreté dans la poésie grecque antique, d'Homère à Aristophane : ἄφενος, ὄλβος, πλοῦτος, πενία, πτωχός (Publications de l’université de Saint-Étienne, 2014), the study in particular of the theme of wealth showed how closely its stylistic uses are connected to the socio-political contexts in which poetic practice is embedded. In the epic, wealth is glorifying for the hero and a marker of social status and quality: If the situation is comparable for the choral lyrics, in a context of sporting victor
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Brandt, Galina. "Interpenetration Phenomenon of Public & Private Aspects in Contemporary Theatrical Practices." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-12.

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The article hypothesises that the opposition of ‘publicity/privacy’ concepts (alongside with other fundamental dichotomies, e.g. spiritual/material, social/individual, political/personal) in the media era, and first of all in the era of the Internet together with related communicative resources, is no longer productive. The study was performed via discursive analysis since it concerns methods of making use of the original concepts of ‘publicity’ and ‘privacy’. The author also addresses media survey methods since it is a contemporary media context that guides changes in the balance between the
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CRUZ, PEDRO CRUZ. "The Theater of the People: A look into Queens Street Vending Culture." In 2021 AIA/ACSA Intersections Research Conference. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.aia.inter.21.25.

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The Theater of the People project recognizes street vendors in Queens, Corona Plaza as merely the visible performance of a network of distributed and transient actors and social infrastructure. Simultaneously, an actual theater sits between a public plaza and a public park, offering a potential political, economic and social connection between the two public arenas. What can a building built for performance teach us when it becomes a scaffold for an entirely different play? How might we imagine a Theater for the People? Within the practice of everyday life, street vendors produce an inherently
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Dyras, Magdalena. "Politics in the Theater. Trouble with Censorship." In Drugi Brešanov svibanj: kultura i politika. University of Zadar, 2025. https://doi.org/10.15291/9789533315614.15.

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Giurescu, Adina. "The aesthetic experience of the contemporary theater audience." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.21.

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The purpose of this work is materialized in our attunement to the perplexities and feelings of the theater audience and, at the same time, we wonder if there are theater creators who have in their subsidiary, when starting a theatrical project, the express desire to excite the audience? The theater performance must retain its individuality gained in the art area, manifesting even its potentialcharacter as a trainer. The atrical creation must be carried out in an exclusively artistic manner, so that the estrangement from professional art is not placed under the sign of obligation when socio-pol
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Bol'shakov, YA O. "Pre-revolutionary theater life in the Vologda province: coverage in the press." In Scientific dialogue: Questions of philosophy, sociology, history, political science. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-01-02-2020-04.

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Fortin, Moira. "Practice as Research a collective form of activism from a South American perspective." In LINK 2023. Tuwhera Open Access, 2023. http://dx.doi.org/10.24135/link2022.v4i1.202.

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As a Chilean living in Aotearoa/ New Zealand I am constantly looking to Latin and South America. Living in the diaspora has allowed me to examine and reflect upon the different socio-political issues arising in the region from afar and with perspective. As an actress and researcher, I am on an ongoing exploration considering how to share research projects from a creative activist standpoint, moving beyond traditional academic research publications into forms that are situated and accessed in the exchanges of everyday relationships and resistance. Written academic outputs are primarily intended
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Honcharova, O. S., T. M. Brahina, and Yu A. Brahin. "Creation and activity of the State Jewish Theater in Kharkiv (1925–1934)." In GLOBAL SCIENTIFIC TRENDS IN HISTORY, POLITICAL SCIENCE, SOCIOLOGY, AND PHILOSOPHY. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-490-0-12.

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Reports on the topic "Political theatre"

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Tyson, Paul. Orchestrated Irrationality: Why It Exists and How It Might Be Resisted. Mέta | Centre for Postcapitalist Civilisation, 2022. http://dx.doi.org/10.55405/mwp13en.

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Orchestrated irrationality in our public discourse is produced by technologically enhanced and commercially purposed atomization and tribalism. Public discourse now leans away from a humane, free, and reasoned political rationality and towards self-interested, calculative, herd conformism. The bulls and bears of consumer society have largely displaced the civic logic of the liberal democratic pursuit of the common good. The power interests that govern global consumerism are enhanced by subordinating the common good ends of genuinely political life to the self-interested and profit driven dynam
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Terstegge, Stephen D. Ballistic Missile Defense in the European Theater: Political, Military and Technical Considerations. Defense Technical Information Center, 2007. http://dx.doi.org/10.21236/ada468576.

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Adamson, Fiona. Trump’s Executive Orders on Migration and Security: Policy Incompetence, Political Theater or Ideological Pivot? Center for Migration Studies, 2017. http://dx.doi.org/10.14240/cmsesy020917.

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Brlecic, Jeffrey W. Theater Strategic and Operational Level Command and Control Warfare: The Legal, Moral, and Political Considerations of Leadership Targeting. Defense Technical Information Center, 2001. http://dx.doi.org/10.21236/ada395644.

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Zeba, Mattia, Roberta Medda-Windischer, Andrea Carlà, and Alexandra Cosima Budabin. Civic Education as Preventive Measure and Inclusionary Practice. Glasgow Caledonian University, 2025. https://doi.org/10.59019/ddzh5n65.

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In the framework of the D.Rad project, WP10 – entitled Civic education as preventive measure and inclusionary practice – seeks to prevent youth radicalisation through civic education and to identify new pedagogical methods and interactive, participatory tools for building pro-social resilience to radical ideologies. We consider as ‘civic education programs’ all those initiatives of instruction that aim at affecting “people’s beliefs, commitments, capabilities, and actions as members or prospective members of communities”1, as well as foster critical thinking and promoting “civic engagement and
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